Writing about writing

We've reached another rough patch of the year. Believe it or not, academic libraries do get busy in the summer. But it's not the way it is busy during the school year, this is when we do projects that we can't do when students are here. 

Between attempting to juggle projects and now the additional work of being the interim co-director of the library, I've struggled to stay interested and involved with my writing projects. I'm feeling very much at capacity. However, the various projects I have (and now some new ideas!) are bumping around in the back of my head and I'm considering how they'll fit in the format of a blog post, with such a heavy emphasis on my opinion/experience integrated with research.

So, today, I'm thinking a little more about what this writing will be about. How will it fit in with my "professional" writing - about libraries, what about my personal journaling? Or is it some type of an effort to bring together a bit of everything - to work through my experiences in life and add in the research I've done related to gender studies. I feel a need to write about some of the bigotry I see in contemporary pop culture, and of course I see that all through the lens of my experience and interests. 

I realize that many of the non-fiction writing I read is in this vein. Anne Helen Peterson, Rebecca Solnit, and Roxane Gay; contemporary writers thinking about how our lived experiences are intersecting with the outside world. I'm not claiming this is anything new, but I'm finding it interesting to realize how much this has influenced my perspective on content. 

While I've been writing this and navigating a few supervisory type conversations, I've been thinking about libraries and racism. And how they're built for white people. This came up in a conversation about the Writing Center and making it more accessible for BIPOC folks. This stigma of accessing services is of course familiar and aligned with the research for libraries too. And that makes me wonder whether our architects have looked at newly constructed libraries at HBCUs, and I wonder if I can find any examples. I also want to make sure that we're doing better/our best to reach out to the cultural orgs directly. I feel a little bad that even the Provost was like, have Amy do it (instead of the project coordinator who is a woman of color - I believe she identifies as Black). And of course, this makes me consider a future paper with the Director of the Writing Center about all of this. 

I've also been thinking about the movie CODA and my identity as a CODA. It's rather unfortunate, ableist, and privileged to think that many people hailed CODA as a movie about/for the Deaf community. I still haven't went back to see how Deaf folks felt about it. I can't even remember whether my parents saw it. But now that it was brought back to my attention, I think it also needs to be addressed. Yes, it was incredibly good to see representation of one of my lesser identities on the big screen, handled fairly well. And I think the Deaf actors/characters were portrayed well (I would need to re-watch to see if there was anything problematic I can spot). But in the end, it's rather wild to think that this movie that is ostensibly about hearing people, but happens to include Deaf people, is celebrated as a "Deaf movie." Of course, I'm going to mostly chalk this up to people being completely clueless about what CODA means, but it's not that hard to do a quick search about a phrase/acronym like that. 

It's always funny to me how much writing will pull out thoughts and new ideas. I'm never surprised by this, but I still fight it tooth and nail!

Bringing this back 12 years later

What does it mean when a blog has gone silent for 12 years and suddenly comes back to life? It probably means an academic is trying to work through some writing and projects. I'm trying my hardest to not hide the older posts - I just finished grad school for the first time and trying to use writing to parse through all of the new things I was learning about. 

I'm hoping to use this space for a few projects, the main one will most likely be cultural commentary - specifically through the lens of intersectional feminism with a strong anti-racist leaning. I'm all over the place with my interests currently. I'll probably cover topics like pop culture, politics, environmental racism and climate change, and maybe some reviews or reflections of books I'm currently reading. I don't know where this will go or if I'll be able to maintain it, but here we go!

femivore?

do i have to add this to the ever growing list of made up phrases that are used to describe me?
according to this recently posted article on NYTimes: "Femivorism is grounded in the very principles of self-sufficiency, autonomy and personal fulfillment that drove women into the work force in the first place."
the article goes on to describe the way that i feel i have been trying to steer my life:

Given how conscious (not to say obsessive) everyone has become about the source of their food — who these days can’t wax poetic about compost? — it also confers instant legitimacy. Rather than embodying the limits of one movement, femivores expand those of another: feeding their families clean, flavorful food; reducing their carbon footprints; producing sustainably instead of consuming rampantly. What could be more vital, more gratifying, more morally defensible?

i hate that this article, and honestly, the whole idea of femivorism, is so tied up in the women's lib movement. first women were stuck at home, then we were allowed to go work (and most women strongly embraced working outside of the home), more recently feminists have argued over the decision to be a stay at home mom.
i have no desire to be a stay at home mom, but i would love to essentially run a small farm (when i say farm, i mean turn my regular sized back yard/front yard into all producing plants including fruit trees/bushes, and maybe chickens and/or goats) as well as continue to work outside the home. i realize i may be falling prey to that other feminist problem of "having it all," but most of that farming stuff is so far in the future, i am not even worried about it. since most of my femivore dreams can't come true yet, i just try to grow as much of my own food as i can from my community garden plot, get a larger portion of my food directly from farms, and supplement the rest of organic/locally produced items.
to many people, the ideas of independence and self-sufficiency seem like a step backwards in modernity. i don't agree with this, this new idea of modernity is made with a full understanding (and mostly appreciation) of technology and it's impact on the world. it is not a complete rejection of technology or civilization (these would be steps backwards), instead it is a broader viewing of the world, it's people, and how we effect nature.

opening at woman made gallery

i am pleased to announce that i am a part of this years Her Mark 2010 publication and exhibition. the opening is this friday from 6-9. hope to see you there! below is more information from the gallery!

Her Mark 2010
Woman Made Gallery is proud to present Her Mark 2010, a publication with art and poetry by 48 women. Juror Maria Elena Buszek made the art selections, and Maureen Seaton juried the poetry entries. Designed by Karin Kuzniar and edited by Marty Bash, Her Mark 2010 includes a layout with color reproductions, poetry, and weekly calendar pages with holidays and moon cycles.
In addition to the publication, WMG hosts an exhibition featuring most of the Her Mark 2010 artworks. The Artist Reception is on July 31st from 6 to 9 p.m. The Release Party and Reading is on August 2 from 2 to 4 p.m. Her Mark 2010 copies are available at the Artist Reception and Release Party or may be ordered for $15 per copy plus shipping. Please contact WMG by phone, 312-738-0400, or by email, gallery@womanmade.org.
Visual Artists who have their work in Her Mark 2010: Grazyna Adamska-Jarecka, Adriana Baltazar, Barbara Ciurej and Lindsay Lochman, Crisanta de Guzman, Kathleen Elliot, Rebecca Rose Greene, Judithe Hernández, Anjani Khanna, Margaret LeJeune, Aliza Lelah, Suyeon Na, Bonnie Peterson, Shari Pettis, Tara Polansky, Melissa Shook, Alice Simpson, Sylvia Steen, Verna Todd, Kate True, Iris Vazquez, Amy Wainwright, Angilee Wilkerson, Beatrice Wolert, and Elizabeth Wuerffel.
Poets included in Her Mark 2010: Beverly Boyd, Rosemary Ann Davis, Kelley Evans, Veer-Tess Frost, Jane Ellen Glasser, Ona Gritz, H.K. Hummel, Kiki Vera Johnson, Laurie Junkins, Elizabeth Kerlikowske, Anna Leahy, Christine McKee, Coco Owen, Maureen Piggins, JC Reilly, Susan Richardson, cin salach, Mary Kolada Scott, Sheri Sorvillo, Judith Terzi, Judith Valente, Gale Renee Walden, Rachel Jamison Webster, and Andrena Zawinski.
Exhibition Dates: July 31 - August 27, 2009
Release Party: August 2, 2009 - 2-4 p.m.
Woman Made Gallery, 685 N. Milwaukee Ave., Chicago, IL 60642

thats all

target: women i love it!

two videos posted recently at my favorite blog: the curvature. they originally came from a different site but this is the way i found them. they are incredibly awesome and very appropriate!

wedding shows

yogurt


and just because: heres another one!

weekly nytimes

and because i have never noticed how appropriate nytimes is, here are a few articles i was reading this week:
when girls will be boys
black rabbi reaches out to mainstream of his faith

and an actual assigned reading:
ART/ARCHITECTURE; beyond multiculturalism, freedom?

how appropriate

today's nytimes had so many great articles. or at least, nytimes.com did. i'm not even sure of the dates of the 3 articles that i thought were so great but here they are:
teaching boys and girls separately
as someone who went to a coed public school i really dont agree with separate sex teaching, but part of this argument was very convincing. dr. sax is taking a biological approach to why students should be separate. to me this sounds too much like how science has been used from so many wrongs in the past, the biggest one is the reason to enslave africans. on the other hand, ann tisch, who founded the "young women's leadership school of east harlem," feels that their are more social reasons for girls to be separated from boys, which i can appreciate but i'm still not sold on the idea. neither approach seems to deal with children who may not fit the "norm," what about boys who actually like to sit and chat or appreciate the warmth of feminine behavior that supposedly only girls want, or girls who want to get up and run around or like to talk loudly? or young homosexual or transgender boys or girls who may not feel comfortable around their own sex? and one of the reasons that i really feel that coed is the best way to go is that i think it is necessary to recognize that students may be a distraction toward each other (especially as they hit puberty) but learning to interact with each other regardless of differences is the only way to get through life.
how do you prove you're a jew?
after yesterday's post i wanted to make it clear that i view jewishness as a religion only, and not as a nationality. after reading this article, i think it helped me to see how jewishness is tangled up as a religion and a political idea.
and
the emerging minority
i am about to fall asleep on my keyboard from exhaustion, i cant say much more other than, people should stop assuming people are going to act/think/vote a certain way because of their gender/class/skin color/sexual preference/other.

identity affiliations and gender performance

The readings for this week were about identity and how it is formed. Specifically in art history, identity is a way to understand the motivation behind the work. As in, if art was made by a woman, then she probably made it a certain way because she was a woman and had certain life experiences. In the history of art history, this reliance on the identity of the artist has created many parallel art histories. Women’s art history, African American art history, and others are looked at as separate happenings instead of being interconnected. Even as more emphasis was being put on certain categories of people, women, African American, homosexual, there were some that were resisting the labels of identity. They wanted to be more than just a homosexual artist, they wanted to be artists who happened to be homosexual, African American, and/or women.
In the article “Performative acts and Gender Constitution,” Judith butler attempts to define what gender is and isn’t. Gender is a series of repeated acts that both the actor and the audience believe. This belief that the series of acts equals a certain gender has been repeated throughout history and because of this repetition many people believe that gender is natural. That there are certain ways each gender should act according to their sex. The interesting thing about this is that when a person does not “perform” their gender according to social norms they are punished, which implies that deep down society knows that gender is NOT a natural concrete set of rules, because if it were than all behavior would be natural. I’m not sure how much of that makes sense, but it was pivotal to me (see image). I began to draw parallels between how art has been thought of and how that thought process has changed. Initially art was thought to have this innate meaning that was universally understood by all, no matter what context it was put in or who the viewer was. There are definitely still people who believe this, but many contemporary practitioners and historians have come to understand and accept that the meaning of a piece of art lies somewhere between the viewer, the art, and the context in which it’s seen. And from this weeks reading, that is very similar to how I understand gender, that we perform in certain ways, depending on where we are and who our audience is; our audience understands our gender because we are acting in accordance with societal context and we are dressed in a certain way.
Another facet to identity is ethnicity. David Hollinger argues for the idea of “post-ethnicity.” The reason that Hollinger feels there is a need for a new way to look at ethnic identity is because past methods have failed. Multiculturalism does not go far enough to include the diverse array of people and although it worked well when it was growing in the 1980s and 1990s, it has failed to be updated since then. Post-ethnicity takes the cosmopolitanism that was prevalent in multiculturalism and pairs it with the idea that identity is voluntary. We choose to be affiliated with certain groups, as opposed to have a concrete identity that just IS. Hollinger feels there are three main groups that are affecting Americans thoughts about ethnicity. The business elite who don’t care much about actual Americans because they do most of their business overseas, a group that sees themselves as trans-national and therefore do not care much about a national community, and the third group is the “middle Americans,” the Evangelical Christians who feel strongly about America but believe that it belongs only to the people that look like them (white, middle class, and straight). After reading this section I am left wondering how I fit into America. I don’t affiliate myself with any of the 3 constituencies that Hollinger outlines, I do feel that I would identify with the idea of post-ethnic. I have always hated the idea that a label was going to be chosen for me by an outside force, and this label might fit some aspects of my personality and the rest must be flukes because they don’t fit a certain way.

moar funny pictures

poetry slam

i found this on a friend's myspace. i was initially offended by it, i wasn't sure if someone was trying to take advantage of the person's handicap. but i watched it more and really listened to what was being said. as the poem was being spoken i really began to think about who was leading and who was following. the first speaker seemed to be the one that was leading at first, because she always says the line first. but as the poem progressed i became interested in how the first speaker would say a line and what it meant in reference to the second speaker. even after viewing this video a few times, i still don't know how serious it is, mainly only because of the "ad" that is at the end of the video. whether or not it is a spoof, i still found it interesting in reference to this weeks readings. but more on that later!